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Herman Hertzberger - Space and The Archi PDF
Herman Hertzberger - Space and The Archi PDF
Herman Hertzberger - Space and The Archi PDF
Rotterdam 2000
I shall be gone,
You will say you are here.
Mat
COI'T'
Preface
v~r
~r
ge of
i ems th t cross-r
ferenc~
EH . "riam uism
I
ll
H rgr t
space oo.
Contents
Foreword
1
Space
10
Rittveld's spm u
Carden wall of VE'Vey house, te Corbusier 11
the idea of space physical space space and emptiness
space and freedom the space of architecture
space apertence
'Mountains outside. mountains jnsjde'. Johan van der Keuken 1&
the space of the painting
20
26
Dalbet
34
37
Le Corbude(t sketchbooks .,
experiment-experience
Mater~al
Spatial Discoveries
48
spatial discoveries
'Scholastic information'. Robert Qoineau 54
0J)!!n-air Khool in the dunes 54
Suresne$ ghonl. Pa.ri5. Baudoin & Lods 55
School. At hens Talds Zenetos 59
De Po\ygoon primary school. Almere 6 2
Pe.terssdtult , Baste. Hannes Meyer and Hans Jakob Wittwer 68
"'ai$on Susptmdut, Paul Nelson 10
University centre. Malmo n
Guggenheim Mll$\lurn, Ne" York, Frank Lloyd Wright "
Hong Kong and Shanghai Bank. Hong Kong. Nonnan Foster 76
Bari Stadium. Renzo Piano zs
Escalator in Mu~e Georges Pornpidou, Paris, Rento Piano and
Richard Rogers 79
Roof of Unite dllabjtatipn. Marseilles. !& Corbusier 80
'White City', Tel Aviv, Patrick Geddes 84
Milsons aGradins, Henri sauvage 87
Centraal Beheer. Apeldoorn 90
Vj!la YPRO. Hillltrsum. MVliDV 95
4
?8
6
101
106
174
187
198
Mater~al
com die1tos
autor~ !:1
In-between Space
Nnxes zv
210
Cntriculu m Vitae
2&9
217
AW4tds zag
289
References uo
[rpcbtbejon 227
JUnstrations
Credits
29Z
292
256
274
Foreword
Who today would dare to claim that things are not going weU
with architecture? Has there ever been such an abundance of new
examples and variants of forms and materials? Has thete ever been
a time when so many successive options were able to attain
expression together? It is difficult not to feel overwhelmed by the
sheer opulence of it aU and to keep fotlowing the trail you have
set out without being too wildly diverted by the new things that
keep appearing.
Today, it seems. there are no more restrictions - at least in the
wealthy pa.rt of the world which sets the tone in the poor part
where it is imitated all too avidly. Anything goes. everything is
feasible and indeed made, photographed. published and dissemi
nated wherever new things are produced. Seemingly without limit
and at a headlong pace with the call for change the one Implacable
restriction. this "throwaway production keeps on mv.ltiplying.
How many buildings praised to the skies by the deluge of inter
nation.\I maguines and other media. are still part of archite(
ture's collective memory five years on? With a very few exceptions
indeed, maybe fewer than during the era of modernism. they aU
melt into the background. having been sucked dry and eulogiud
to death, succeeded by ever new generations of buildings undoubtedly destined for the same fate.
Once everything may and can be done. then nothing is neces~ry.
Where freedom rules, there is no place for d.ecision-making.
We slaves of freedom are condemned to unremitting change. This.
then. is the paradox - that ultimately this freedom limits the
architect in hi! scope.
What is there for an architecture student to learn when one thing
and one thing alone is important to him, namely to think something up as quickly as possible and get all attention riveted on it
so as to become famolll. if only for a few months? After that it's
baclc to the drawing board, or rather from the scene to the screen.
Today the world of architecture resembles a football match with
only star players who can do anything with a ball, but without
goal posts and consequently without goals. However magnlficent
the action, it is unclear where the game is heading and what
exactly we can expect of it. There are far more possibilities than
ideas. and so our Wl!alth is also our poverty.
If it is so that architectute in the postmodern age has been freed
from narratives as truthful as those of modernism with its quest
for a better future. then it must carry its meaning within itseU.
That the things we make are surprising and look good is not
enough. They will at least have to contain something. an idea
that is of some use to the world.
The architect needs to feel some responslbi\ity,like the struc
tutal engineers and consultants who, laying claim to an ever
greater slice of the cake. enter by the back door to steadily rob
him of his freedom.
If the architect is a specialist anywhere. then it is in orchestrating
the spatial resources and whatever these are able to accomplish.
He must at(:ept his sodaI and cultural obligations and concentrate
on the creating and shaping of space.
POUWO J ~
au tor
Space
Mat
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etveld's space It
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SPACJ 1J
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space, though we flnd more to Interest us there; bacilli, particles, genes. That this 'negative' space falls to arouse In us
il sense of space says much about our Imaginative powers.
Similarly, the mass of water below the surface of the sea is
too solid to evoke a sense of space, though the deep-sea
diver obviously takes a different view.
suer AIID rxrn11111 Anything we cannot grasp we experience as emptiness. This might be a view into the distance
acrou a sea without ships, without waves, without douds,
without birds, without a setting sun, without visually recognizable objects. The desert too stands for emptiness, despite
the contours of hills and valleys and its teeming Ute. Here It
is the absence of people and objects, the desolation, that
leaves us with a feeling of emptiness. This feeli ng Is even
strongerln the deserted city, where everything revolves around
people. Without people, the space of the houses, streets and
squares, the space In a physical sense Is emptiness, a void.
Emptiness Is a feeling too, one you experience the moment
you know or suspect that something precious Is lacking or has
left. but equally so when we are the leavers.
For us the emptiest thing imaginable Is the painter's blank
canvas when our thoughts as observers are of pai ntings we
know. For the painter it Is space the moment he or she decides
that it has to become a painting; the challenge to conquer it
Irrevocably robs the canvas of its virginal state.
PB'ISJCAL
account of things, has no respect. Is anti-social, antl-authorltar1an: freedom cannot choose for with every act of choosing
It reducu itself; it Is a menu without end. Where everything
Is possible and permitted there Is no need of anything. Space
Is a supply, that creates a demand. Space has shape, it 15 freedom made comprehensible.
n1
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life that opens the heart and the senses like flowers fn bloom.
Whereas for her, lffe was cold as an attfc facing north, and
the silent spider boredom wove Its web fn all the shadowed
comers of her heart.'wru.,. n.~
'She reached the parvis of the CathedraL Vespers were just
over, and the people were pouring out through the t hree doors
like a river beneath the arc:h es of a bridge; In the middle,
firmer than a rock, stood the beadle.
'She remembered the day when she had gone In there, tense
and expectant, with that grut vault rising high above her, yet
overtopped by her love.... She walked on, weeping beneath
her veil, dazed, unsteady, almost fainting.'' W>t.,. Rubort
'The nave wu mirrored in the brimming fonts, with t he beginnings of the arches and part of the windows . The reflection of
the stained glass broke at the edge of the marble and continued
on the flagstones beyond Uke a cheque red carpet. Broad daylight shone In through the three open doors and stretched
down the whole length of the Cathedral in three enormous
rays. Now and then a sacristan crossed at the far end, making
the oblique genufleJCion of piety in a hurry. The crystal chandeliers hung motionless. In the choir a silver lamp was burning. From the side-chapels <lnd darker corners of the church
came ocusionally a sound lfke t he exhaling of a sigh , and a
clanking noise, as a grating was shut, that echoed on and on
beneath the vaulted roof.
'L6on walked gravely round the walls. Never had life seemed
so good to him . Presently she would come, charming and animated, glancing round at the eyes that followed her; in
flounced dress and dainty shoes, with her gold eye-glass and
all manner of adornments new to his experience; and in all,
the ineffable chann of virtue s urrendering. The Cathedral was
like a gigantic boudoir prepared for her. The arches leaned
down Into the shadows to catch her confession of l.ove, the
windows shone resplendent to light her face, and the censers
would burn that she might appear as an angel i n an aromatic
cloud : Gu<to\'10 ~bort
IPACI IXPilii"CI
For the musician, the buitdlng c1rries the musi c. The com
poser Hector Ber11oz, for example, simply coutd not h!Uigl ne
how 1 spac.e could be eqerie.nced other than til rough the
music reso unctlngln it. Of a visit to StPeter's In Rome he
wrote: 'these paintings and statues. those great plllllrt,
all this giant architecture, are but the body of the building.
Mu$ICIs Its soul, tfle supreme manifHtatfoft of Its
exi stence." H ctor 8o<liot
But along with tbese sensations In a literal space, we can also
experience a sense of space In a complex and so not l mmedl
atety ctlstinguishable tapestry of voices.
1n the choir I hu rd many voices, each of which seemed to be
singing Independently of the rest; rising and fatting along
i nvisible ladders to and over each other, sometimes pai ring
off, someti mes crossing each others' paths like comets pulling
a long tall of harmonies behind them, they kept each other
flo1tlng In equlllbrium, and despite the skilful em brangle
ments aU wu u strong and transparent as silver se~ffolctl ng
In space: rh..n doVr1b
A notion of space turns up In every corner of our consdousntss, In llnguage, danct, sports, psychology, sodology,
economy; wherever movement Is possible, and so just as
easily on the flat surface.
Space as experience has to derive from an Ur-feellng, an abilIty to Imagine a dimension that projects above basic rullty,
an exposure to a reality greater thin we are able to conceptuatlu. Sense of space Is a mental construct, a projection of the
outside world n we experience it according to the equipment
at our disposal: an Idea.
tl'A.C J \1
au tor
At
I AI C IU CI
1111 SPACI
'But what the phot o shows more than anyt hing elie is how your experience of the
wor1d outside etches Its Impressions in
your mind: the lithograph of your landKape of memory.
'So, in your mind, the external space is pro
jrcted inside through t his rectangular lens
of the darkened room. into the space
inside yourself; your own s~Jace.'"
HACI tt
Mat I COil" d
Bergere' 1..1
Edouard Manet, 1881
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SPACE IS A. LONGING
Sometimes on a puff of wind,
sometimes In a storm
they fly up,
a cloud of birds
before the sun .
What drums
give th e birds flight
that they expose themselves
lightly
to so much ai r.
S.<t
s.:oi-
lierz_b tr
As soon as a new area of space becomes emotionally and physIcally accessi ble, Its anonymity crumbles. Elich step Is a new
designation, a new signlfli, so that step by step It becomes
appropriated as part of our familiar world.
As a region becomes more and more familiar, no matter what
kind of region, the Indefi nableness. the unexpected, seeps
away, and with It its spatiality unti l finally It Is appropriated
and absorbed; 1 region for our homecoming.
If spue-accessfng desire hu centrifugal directionality, once
that space Is colonized our attention t urns to ever more drutfcally opening it up and n ploltfng It In our minds. More and
mort assoclatfo11S take hold and. with these Incorporated In
ou r famlliu world, our focus In time becomes Increasingly
7-S
0
Mat
COI'T'
.
lu occupants/users. A loc~tlon then becomes a ' partlculu'
place coloured by occurrences past and present which lend it
assodatlons. When we say we are making a place, we In fact
mean making the space In such a way that the conditions for
Its fnfill endow It with the quality of puce.
lf place is an ultimate emotional appropriation of a spilce thiit
originally was unsignifled but is potenthlly signifiilble, we
can then s1y: sp.-.ce is a quality that contains the new, that can
be filled In to make a place, so that space 1nd place can relate
as 'competence' and 'performance'. Space and pl1ce are Interdependent In that each brings the other to awareness, enables
the other to exist as 1 phenomenon.
Birds searching for food need to carry their nest In their mi nds
when passing outside their territory; there nn be no iidventure without a home-base to return to. You have to travel In
search of space, to confirm the place you call your own; you
must return home to recharge for a new journey."
'The need to get away? The desire to urlve?'"
lUrk St,.r>d
IPAU IS
au tor
L~ Corbusier. sb
Ma'ter
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elements, with areas of colour and, on the
Inside. sliding light-absorbent p;~nels, the
effect being as much Japanese as Mondri
anesque. Again, the tiled paths and planting right up against the elevations betray
the sort of care that regrettably one only
expects to find in dwellinghouses.
The basic. even bare, cont.liner aspect of
the building is equalled only by the opu
lence of its infiU and contents. This consists
of an endless and varied collection of
objects and artefacts from all over the
wortd. brought back by the Eameses from
their travels - fasdnattd as they were
by everything made by human hand the
wortd over in a never-ending diversity.
And what better accommodation for all
..
that the parked cars do nothing to obstruct
the view through.
Apart from the eye-level transparency on
the ground plane tl'lis response is also a
brilliant natural solution for the problem of
parking which. although not new In itself,
is here as open as it is objective through
the minimal and simple response without
balustrading or concealing watts to block
the view.
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kinds of modifications of their own. Thes11
additions are nowhere to be found in artl
cles about the building, yet it is these that
best illustrate the space opened up by the
construction.
of the overall formal world they had generated ror the house, decided that it was
complete at this stage. And not just that.
they had It painted In two colours In such
a way that the technical build-up in parts
would be more prominent still.
Chareau must have b~n taken with these
columns. unexpected images as they proved
to be, fully regaled and fr~-standing in the
space. for aside from the black and red-lead
colouring he clad the flanges at places with
slate panels. This is something only an artist
would think of, one with his roots in Art
Deco as evidenced by the innovative use
of materials and joints at so many ptaces in
this house. So we see Chareau uniting the
redolence of disparate worlds into an amalgam with its own individual aesthetic_ Add
.
the furniture which togeth er with the steel
structure presents a kind of biotopic unit,
and it then becomes clear that our acceptance of this aesthetic is g1ounded not in
some law or precept that guarant~s beauty,
but entirely in the positive associations
that each of the components present here
evokes in us.
Qearly then, forms and colours (and of
cou~ words) change when lifted from their
original context and placed in another setting . Extricated from their earlier system
of meanings they are now free to take on a
new role.
Place things in another setting and we see
them in a new tight. Their meaning changes
and with it their value, and It Is this process
of transformation as enacted In our minds
that gives architects the key to creativity.
think of the 'pull-out' stands of his superrevolutionary competition design for the
St. Denis stadium).
This concept breaks dramatically with the
customary doll's house cliche. Not just in
terms of the outward appearance and how
it Rts together, it also shows a revamping
of ideas about what it is that children might
want from a doll's house. taking note of
the fact that they have less need of some
thing representing a literal reality. With
their capacity to think conceptionally, they
are conten t with merely the idea of a house.
~oa tIAJ:C11tf1Ct
Picasso's eyes 11
Picasso's t92 combination of a bicycle's
handlebars and saddle as a bull's head is,
after Duchamp's ready-mades, one of the
most miraculous and meaningful art works
of the twentieth century.
Wllile a 'normal' collage draws a new narra
tive from disparate components each with
its own story, llere two parts of the same
mechanism combine into a single new (and
different) mechanism that inevitably and
inescapably calls to mind the llead of a bull.
Indeed. so strong is this association that it
is difficult to continue seeing anything of
a bicycle in iL
Tile bike Is forced Into the background by
the bull. Theoretically at least there must
be a transition point where the components
are so caught up in each other's new sphere
of influence that, in a sort of magnetic
impacting of meanings. the bull aU at once
~
')
"
IC 5n4LSPACI&JIOllfi: AJC:IIflC:t ) 1
them In ' new contut. You see things differently, or you see
different things, depending on your Intentions In perceiving.
bch new Idea begins with seeing things dlfferentty. New signals bombard you, persuading you that things are not the way
you thought, making Inevitable the need or demand for 1 new
response. To observe and so understand your situation, your
surroundings, the world, differutly, you have to be capable
of seeing things In another Ught. seeing thou same things
differently. For that you need another sentlblllty, re5ulting
from a different perspective on things, your surroundings, th
world.
The nchitect's most important attributes are not the traditional emblems of professional skill. the ruler and pair of
compasses, but hts eyes and urs.
At a certain moment In the nineteenth century, painters began
pillnting the pitches of light In the shadow of trees, where
sunlight falling between the leaves perforated so to speak
the areas of sh1dow. You could SlY that those p.a tches of light
must have always been there, and they undoubtedly were as
long as there were people to look 1t them, yet those painters
saw them for the first time. At least they only then became
consdously aware of them as an essential aspect of the configuration we call tree. Their attention focused on the excep
tional quaUty of trees u providers of shade an.d shelter, and
on the fact that people tend to linger there rather than elsewhere. Searching for other things, with the shift In attention
t11at brings, they became consdous of aspects they had In fact
always seen without being aware of ft.
Often It takes painters and their Interpretations to make you
aware of how things hang together. For Instance we see the
landscllpe of Provence Influenced by the WliY C~zanne expert
enced It; we are In f<lct looking through the painter's eyes.
You buome aware of what you are actually seeing only when
that perception occurs In the right context at the right time .
Prehistoric caves with paintings on the walls, now regarded
as pinnacles of artistic ende.avour, were discovered at a
second viewing, long after they hid bun closed up because
no-one had then seen anything In them.
People began perceiving things thit until then had simply hid
no part In the generil frame of reference. There was no Inter
est In them beciust the focus wu on other upects that were
more relevant to them then . So other glasses were needed, so
to spuk, 'to see what hid not bun seen to be seen'.
The same tree observed by an ecologist, a biologist, a forest
ranger, a painter and a transportation planner Is sun by each
through different eyes and therefore regarded and valued
quite dlfferently.
Whereas the biologist probably assesses Its health above all,
the forest rJnger calculates roughly how many cubic metres
of timber it would give him, and the painter appredates Its
colour, form and maybe the shape Its shadow throws. For the
transportation planner It Is bound to be In the wrong place.
All look at things through their own gluses and consequently
assess things quite differently, uch within their spedflc
contut.
We can regard such specific contexts of assessment as 1 system
of significations, and this system Is accessible to the focused
eye of the practised observer. Eyes that are experienced In
a particular area see the smallest difference that would be
missed by those skilled In other areas and remain hidden to
them. So, for Instance, It stems that Eski mos can see from
the type of snowflikt whether It comes from the mountains,
the sea or from any other direction, something that is of vital
Importance to them to be able to find their bearings In an
endless upanse of snow that otherwlst has nothing recognizable to offer. Indians are able to distinguish the presence
of hundreds of plant spedes, and from severJl hundred metres
away too. If this is lnex1Jllcable to us, It Is equilly lnexpllc.able
to them how, for example, we can distinguish and Identify so
many kinds of red lights and other signals on the roads at night.
lights that cause u.s to slow down hundreds of metres away
because tlley tell us that something may be wrong farther along
the road.
Everyone has an eye for a particular system of mea.nlngs
because It Is of spedaland relevant Importance to them. They
hardly see the other things If it all, such as the jungl.~dweller
who left his native forest for the fi rst time and paid a visit
to Manhattn . Whtn asked what struck him the most he
re plied that the bananas were bigger than those back home .
Thus throughout the history of pai nting. and In that of archit ecture, we see different aspects coming to light that. uch
as a coherent system of meanings, milde claims on the attutlon, evidently because at a certeln time they were Important
or simply regarded as particularly attractive. Focusi ng on certain related aspects Infinitely Increases your powers of discernment vis-a-vis that relationship, yet It seems as though
you can only focus on one area of It at a time.
Fixat ed on t hat one area, you are blind to everything else
which, though potentially perceivable, falls to get through
to you. It is as though you need ill your attention for that
one aspect on which you are concentrating and to which you
are clnrly recept ive.
When holidaying u a family In France, our children were
dragged from one cathedral to the other without their Interest
being aroused In the slight est. They only had eyes for coffee
makers, scooters and most of all a new phen omenon In those
days: parking meurs. Until one day In Auxerre t hey sudden ly
made a beeline for the cathedrel. Hid we finally managed to
kindle their enthusium for the richness of this form-world
that occupied and Inspired us so? It took us only ;a short time
before we succeeded, having scru pulously scanned the surroundings, In Isolating from its exubtrant backdrop a type of
parking meter they evidently had not seen before.
Tr~velllng
We only perceive what we more or leu expect to find, confirming our suspicions as It were, In other words there Is an
element of recognition. Thus discoveries are in fact always
rediscoveries and, Invariably, t he missing pl.ces from an
alrudy conceived totality.
The researcher can do little with phenomena he encounters
that are Impossi ble to fit Int o his research, based as it Is on
a known theory. Should he not wish to Ignore those new phe-
Mat
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I JACIAitDTMIAJ!:C.ItiCl
au tor
'This transformation process, whereby the outmoded significations fade i nto the background, and new ones are added,
must be ever-present In our worldng methods. Dnty by such a
dialectical process. will there be a continual thread between
past and future, and the maintenance of historical continuity."
In the above quote dating from 1973 the emphasis Is mainly
on forms, conceived as ttme-depe11dent Interpretations of
more universal 'arch-forms'. What we are co11cerned with in
this book Is the kind of space those forms generate and for
this we must expand the Idea of a 'Mush lmagfnaire' of Images
to lndude tfle space forms that they result ln. Whereas forms
always more or less btu the stamp of their time or place,
space- even ff thei r counterform - steps outside that time
and place, conceptually at least.. and h therefore less timebound.
When considering architecture of other times or plues, we
nHd to turn our eyes from the things to the space thtH give
shape to, and look beyond what Is too specfffcally formed to
distil the tssence of that space, thus shifting the emphasis
from the architecture to what It Is that It manages to generate in the way of views 1nd protection and whit can happen
as a result.
The more you have seen or the more impnssions you have
experienced In whatever other way, the bigger your frame of
reference. We can not be greedy enough In our crmngs as
'receiver' of Images wherever, whenever, whatever.
Everything can product useful associations; butterfly wings.
feathers and fighter planes, pebbles and rock formations,
Images that enlarge the spac.e at the architect's disposaL
And then there are 111 the Imaginable situations people can
find themselves In; you have to recognlle and Identify ttlese
to bring those people to the centre of attention.
Your ability to generate Ideas that lead to new concepts Is
contingent on the wealth of your frame of refertnce. And the
wider the horizon of your Interests, the sooner you can break
free of the snare of architectural fnbrHding of forms that are
doomed to keep reproducing while their substance diminishes;
and the greater your chances of avoiding the backwuh of
tricks and trends everywhere about. It Is precisely by not
thinking of architecture that you come to see 1nalogles with
other situations that Incite new ideas (by seeing 1t more as
Xyou discover Its potential fitness for Y) .
Your frame of reference, as ft happens, also works fn reverse;
In the design process. It Is by es~bllshlng wtllch potential
possibilities are unsuitable as a res ponse to a particular task,
the negative selection tf you like, that you become aware of
the direction you must then follow. Hot only do you become
more aware while working of what you are in fact looking for,
criteria of quality also su911est themselves. These set themselves up IS touchstones that Inform you whether you have
'arrived' or need to keep on searchfr1g: designing Is rejecting.
Mort important thin being sure of what you want is knowing
at least what you don't want, and so to design h 111ost of all to
keep looki ng a nd not be too easily satisfied with what you
find.
U ACAIDTIIL41 CIIrtiC:f
Mat
COI'T'
The richer and 111ore unlveml the Influences you concede, the
more mental etbow room you create for yourself. It Is a ques
tion of exploring everytlrlng there Is, everywtlere and of all
time to discover how old mecbanisms can be transformed into
new ones by trldicating the old !Millings and rebuilding them
for new ends. It Is, then, a question of making your frame of
reference u wide as possible.
au tor
Spatial Discoveries
5D IUCI AlCDTIJIA.K'"IIUct
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'Scholastic information' rJ
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1956
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shelters which offer the children the Opl10rtunity to wait for or seek out each other at
the front door.' These shelters. consisting
of a concrete sla b as a seat topped off with
a steel roof, are a fundamental attribute.
They are popular when it rains but most of
114
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rtd scarcely
penetra ed by h orld ou i d .
All ~ now oft
sa S sp ndu is th
jntfguing mo ("nth MoMA tn
Yonk) m de, as t h ppens. b th ~a me
Oalbe it hout hom C areau and 81jvoet's
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cutting through spac . i s opic l
s r a k ps r pp ari g in designs
countless 'I ri n s.
1
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spatial envelope and a lOning into territories but dictates the urbanistlc capabilities
of the place: i.e. its competence.
The pre-eminent e~ample for such a plaza
because of its unsurpassed attractions
unde.r differing circumstances is the Rocke
Feller Plaza in New York. There the spatial
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The gently sloping underpass with its spectaculi!r view upwards and the entrance
deprived of every sliver of monumentality
combine in a eye-popping spatial sensation . This adds an explicitly accessible,
urban dimension to the building's aspect of
unassailable exclusivene$5. And all that,
when to draw up the bridge to this fortress
of finance and power merely requires closing off a single escalator.
...
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principle, views from outside of the activities in the stadium.
Thus. inside and outside worlds remain in
touch, generating a degree of visual contact without parallel on su~h a vast scale.
Another extraordinary feature one never
comes across in stadiums is the way this
large-scale horizontal articulation divides
the structure. as it were, into a section
dug Into the ground and, held dear of this.
a supplementary rising composition of
stands.
By applying the principle of articulation
not only horizontally but vertically, the
public, which in stadiums takes on almost
terrifyingly massive proportions, is split up
among separate petal-shaped galleries.
This reduces. practically as well as psycho
logically, what would otherwise be a perpetually uncontrollable number to more
manageable units.
This articulation principle is understand-
"'
ably carried through to the system of
entrances and uits. It is when crowds of
spectators are on the move that their sheer
mass most effectively suppresses individual movements. So a system of decentral
ized exits, with all of its parts clearly in
view, is the ideal solution for alleviating
the intensity at such times.
\SI
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IPU JAL DIKOVUIU 71
154
U-daipur, Jtldla
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with its additional height giving an unhampered view on all sides over the extremely
tall parapet sutTounding the roof.
All these facilities and the form they are
given attest to an abiding attention to the
inviting nature of the fotTn which for le
Corbu.sier always automatically takes pride
of place before its sculptural expression.
Hanging above his worltl>ench was a large
illustration: the legendary idyllic photo
graph of th is concrete landscape that must
have constantly served him as a oiterion:
a naive expression of hope and utterly
opposed to today's almost cynical lack
of folith in what architecture can mun
to people.
Ill
Buildings like the Unit~ confi gured as vertical housing estates have already become
an architectural and urbanistic phenome
non that claims the attention of each new
generation of architects, the overri ding
concern being whether it really is possible
to organize a single building into a urban
fragment. Yet a truly revolutionary discovery
is the idea of a roof acti ng as an alternative
ground floor and communal garden, and the
way this roof/ground is unmistakably fitted
out with buildings of its own that fully
extinguish the sense of being on top of
another,larger building.
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If this complex impacts on the world outside
as a collection of towers standing in serried
ranks, inside itcomesacross asa honeycomb
of spaces. These towers are strung together
by the basic structure, the spatial skeleton
that holds it all in place, all the while acting
as the periphery of the internal spaces, the
'negatives' of the towers, so to speak. but
then shifted half a phase horitontatly in
respect to the basic structure.
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rn a company like Centra al Beheer modifications are the order of the day. Some
departments get bigger, others decrease
and there Is always the possibility of having
to expand the complell as a whole. The
building should be capable of taking up all
such internal forces while conti nuing to
function on aU fronts .
This is not so when the building is a fixed
organism with a predetermined form . This
..,
t$ why we sought to achieve a 'building
ordet' that is in a perpetual state of emergence and yet always complete.
This means that change can be ex]lerienced
as a permanent situation. Because the
building as a system remains in a balanced
state, i.e. keeps functioning. every compo
nent should be able to fulfil another role in
each new circumstance. Each component.
theoretically, should be able to take on the
role of every other.
The building. designed as ordered expansion,
consists of:
1 a basic structure tltat impacts through
out as an immuuble zone, and, compte
menting it,
z a variable, interpretable zone.
UAitAL DliCOVU.IU IS
environm~nt which
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au tor
nd
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g toh 1Y n.
Mducflo" of1t ts or ' o n I ad
~u too tasily to ~u skin and bon - at hCt.Ssi~ cost. One you
have ae:qufred i taste for omitdn things you are t real d ~er
of succumbing to anor~xf rddttdurl. Th '~rt of omission'
tons sts of leaving out only ose things t are irrelev n
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Brancusi ( l00-107)
Ho-one was more capable than the sculptor
Conruntin Brancusi of compressing such a
complex world of ideas into his pieces. the
smaller of which must have looktd at first
sight like objects that had been found in
passing (objets trouv~s).
Brancusi had that rare ability to t<~ke seem
lngly simple forms and so charge them as to
arouse a myriad assotlations In those who
observe them. One such association,
depending on the eyes that are upon it. is
foregrounded, 'pulling the form in a par
titular direction.
Though his sculptures do admittedly have
titles, these do nothing to inhibit the
observer from seeing them as something
else. They can often be birds, wings and
propellers but also object$ conctiVllbly from
another planet or materialized from outer
space; aquatic ueatures, dug up parts of
some machine. perhaps agricultural implt
menu, primitive art, objects found on the
beach. Lou of those. And because there is
no longer a distinction between ancient
and futuristic, organic, fossilized, solidi
fitd, eroded and cast. the notion of time
and place is extinguished. According to the
'naive' painter le Oouanier Rousseau.
Brancusi saw the opportunity to make the
ancient modern and the modern ancient.
Wood , stone and metal gain an almost
machine-like expression when worked by
hand, naturally rough or smooth and shiny,
each one or an incomparable purity of
material and form; almost nothing and
almost everything, arch-forms, no more
and no less.
Blintusi manages to achieve the maximum
complexity in the simplest form. both furi
ous and calm, mud! like the ballet dancer
who conttots the most prodigious tension
of so many muscles and tendons to transform it Into a single elegant gesture. In the
way that they still have to at tain an explicit
form. so to speak. his objects are In fact
protoforms which become what they ate
through interpretition. They are concepts
that are a summation of the complex ldeu
which reside in them u lilyers. to be evoked
by association rather than being explicit.
Brancusi worktd in hris (where a replica
of his studio has been built in front of the
Centre Pompidou u a well-Intentioned and
informiltive panopticon) but he came from
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main pri nciples underlying the spatial concept. Just as tl1e basic idea is clea r\y dis
cernible in the end-product, here concept
and development are virtually identical.
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attr,ctiveness.
Ct es are inviting, and uniting~ the p ce wh re everything
h1 pp n - b h p c 1 d
ce.
e r contt ty pr occupied t measuri g, mirroring
ac o r.tt is ot ~ hat
and pitting ourt lv 1 a '"
determtn~who w are, but m nty o het , ,. antng tht $Od l
syste and the ro es e lay in tt. Our envfronment, bufU 11
ft ts, an not avoid be n n inftu "c , ev n ough ui ding1
o~
ction.
hot b t lso fn ~
fs o provid
o por
SimianelaRotonda tml
Henri Cartier-Bresson, 1970
Among the places people f~l most attracted
to are those in the heart of the city where
one can still see out to the surrounding
country. Just this brings them together,
even when they had no truly conscious
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IOCJ.A.L I:PACI, COL.LfC'tl VIUACI &b
Hakka dwelling-houses,
Fujian, China ,.....,.,
These uniqul! ring-shaped buildings are
found ex(lusively in fujian in South China,
particularty around Jongding, either individ
ually or in groups, and each constitl.ltes a
complete self contained residential village.
Exceptional though they are, there are still
several thou~nd of these structures in exis
tence. They were built from the seventeenth
century to the present. with diameters vary
ing ftom t7 to as melles. Besides the round
variety, there are a great many square ones
and all manner of Intermediary forms.
Although inward-facing and dosed to the
outside world. they make a less impenetra
ble impression in the landscape than one
might expect. They are inhabited by communities of entire families of Hakkas
...
,.,
...
(strangers) who migrated to this region from
the north looking for better living condi
tions. In these fortress-like buildings they
could protect and defend themselves against
onslaughts and often lengthy sieges.
Otherwise the surrounding walls are
entirely blank with perhaps the occasional
tiny window placed as high as possible.
Constructed of bricks of dried day, the
walls are one and a half metres thick at
the bottom and taper as they rise.
All dweUing units are located against the
outer wall, whereas the central area is
either open or built-up to some e,..tent. On
t.he ground floor are the living and eating
quarters and kitchens, all ranged in accord
anee With Chinese tradition round small
internal courts giving onto the open central
area.. The bedrooms. like the storage rooms,
are located along the galleries above and
curiously can only be reac.hed from two or
four public stairs.ln other words, with certain exceptions you are unable to proceed
directly from your living quarters to the
bedrooms except by way of the front door,
across the public space. Evidently there is
less need of privacy. though these are.
after all. large family groups. in China the
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enough left for playgrounds and for community ~ctivities that can be watched from
all sides, as can the children who play here.
The private gardens have shifted to the
outer side, confirming that the prindple
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of the perimeter block with gardens inside
and bounded by streets has been roundly
turned inside out.
Wllat we did for one block in Diiren was
developed in subsequent projects into an
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would negatively affect the image. so char
aeteristic of an urban centre like Munich,
of clear-cut streets between solid blocks.
and that the city's explicit urbanity would
therefore suffer too. Evidently the scheme
was seen more as a Siedlung or suburban
housing estate than as city.
But wi th today's dweUlng criteria there is
no avoiding the greater distances between
buildings, and there are no more picturesque
inns or shops on the corner. In short. that
image of the city is an illusion however you
look at it, and we must quickly find other
images to prevent such illusions from pro
ducing one failure after another.
flisabethaue
Berlin-Pankow, Germany
Whenever former open country is built up.
one condition is always that as much as
possible of the old character has to be
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The fact Is, public and private, whether Inside or outside, are
relative concepts. Only the containment of buildings vls-1-vts
the openness of the street presents a barrier In the continuity
of this system of successive transitions. In practical terms,
the city Is divided Into monitored areas, buildings, and the
relatively unmonitored area beyond, the street. We must keep
striving wit.h architectural and urbanistic means to uphold the
openness of the private 'bastions' and the continuity of the
street so that the collective doesn't get reduced fn the Interest
of consolidating the private. This Is something you can see
happening everywhere due to the public domain being suppressed.
Whenever architects and pt..nners through the ages have occupied themselves with space it has almost always concerned
buildings for social life, In other words where 1 sense of the
collective is expressed and where large numbers of people
converge whether spontaneously or along organized lines.
Such buildings are necess11ily of large dimensions and thus
contrast starkly with plaets of habitation.
Should then be a need for roofs to keep out the elements,
It Is the structural means, facilitating the required span and
enlngfng the scale u 1 result. thlt gin these ediflce:s their
Imposing appearance. The history of architecture was domi
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the centre of the space. There is less c.oncem for one another
mainly because those gathered there only see each other's
buks.
fn theatres ind iudttoriums and also In stadiums the attention
is likewise centrally oriented. So essentially these differ little
from chure:hes In terms of social patterns.
In aU these situations the building Is an aUInduslve construct
that encourages a shared concentration and a harmony among
those ilttendlng certain organized events. Important though
thlsls, at least as Important for social life are the streets and
squuu, cafes, lobbies and other eumples of collective spaces
whose spatial setting has a catalytic effect on social contact.
not just t'n geted ilt one and the same acti vity, but so that
everyone can behave In accordance with their own intentions
and movements and so be given the opportvnity to seek out
their own spiCe In relation to others there.
Great though this feeling of togetherness Ciln be at organized
events, these Invoke social contact it 1 distance only. Yet It
is social contact that turns collective space Into social space.
What we need to find are space forms that ne so orgilnized that
they offer greater opportunities and cause for social contact.
Spat.e s that enlarge the thances of encounter and have a
catalysfng e.fftct on seeing and being seen, and so contribute
......................................
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atttntio<o ctnwliztC/ conc-lilOd (zo> )
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Afour-millimetre thick sheet of glass separates the station concourse from the city
square with its uams, buses and cars. On
alighti ng from the train into the city's
bustle, the visual contact is complete and
overwhelming.
The station itself is reduced to a large hall.
with the necessary ancillary facilities
housed in built-on flanks which differ little
from the city buildings around them. Unlike
the major examples, especially in England
where the stations were crystallizing points
of urban amenities and grew into complex
structures of great size. here we see the act
of entering and leaving the city by means
of this new and fi rst large coUective mode
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inti ate
dr
b 1ng buH to a , e it on
ore mod st
l ss acc~ssible than the Ro n
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de such m rk on
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A separa
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6 FCKinUin grotto " C 'fin: bJth .,. C a Cold bath 11 C t Souftd,ng ' tb"nt 1.0 ~~ b:.Jt.h 10 C 11 Ra1 iptce u JU~!
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below street level (as in the Hague film
theatre) only enhances the view in. Not that
this In any way disturbs the theatre-goers,
who feel protected by the solid expanse of
wall.
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IQ(.IA.L SPAC&, C.OLUUIYI IPAU U l
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iOCU.L U'AC1:
t01.UCT1V~ l7.t.Cr
149
Santa Claus arrives Oude Schans shot from canal. rain Moped couri er Khalid on Haartemmerdijk and the winter canals Christmas
lights being put up in Reestraat, Runstraat and Keizersgracht making echographs at OL\1 Hospital. Roberto and Aletta Taking the
underground to Bijlmermeer, the baby's things in Roberto and Aletta's flat: the baby has arrived! Ganzenhoe f market Shots from car
of Bijlmermeer BorzAli, the Chechen, watching Russian TV (lnvasion ofChechnya) with his wi feJuliaand son Kasbek Christmas lights
at nigh t Fireworks on New Year's Eve (Nieuwmarkt area + overview of city) Shots from car of Amsterdam-Oost- broken-up streetsfollowing a woman carrying bread Turkish women Courier Khalid riding in the rain to the arcade at the Rijksmuseum where he meets
others couriers and girts Mathilda from Ghana visits Ghanaian fabric shop - Ganzenhoef z girls standing in front of two windows.
Keizersgracht (from canal) Talk wi th Khalid the courier Playing cards in table tennis centre Shots from car of Bljlmermeer with
distorting TV Mathilda at Ghanaian seamstress's, her daughter watches the distorted Tv Shots driving round 'Arena' under construction
The Chechen Borz-Ali on the phone in the car (driving over Dam Square, Paleisstraat) BorzAii with video image of his dead brother
(presumed dead it transpires later) The Bolivian Roberto cleaning at Albert Heijn supermarket, Bijlmermeer Talk with Roberto, air trip
from Bijlmermeer to Bolivia Party in Roberto's village. Copnsquia Talk between Roberto and his mother Khalid arrives at the photo
grapher Erwin Olaf's; the photo session Tramp with pointed cap- posing as statue- and his mate; Oamrak in the rain Chinese school
in Pijp neighbourhood; the calligrapher Shots from water along canal fronts (Oude Waal); sound of a Chinese lute. late wi nter Shots
driving through garages at nig ht in Bijlmermeer The Ghanaian Mathilda at the mirror - puts on headscarf Ghanaian 'fu neral party' In
Bijlmermeer Flying above Amsterdam, waterways and canals in the spri ng sun Shots driving through city centre Cross-street con
versation between two ladies at opposite windows in Jordaan area fishmonger's on Zeedijk The courier Khalid waits in the courier's
corner of the photolab while listening to house number 'Move Your As~ Khalid riding over Rozengracht Khalid riding in the Vondet
Park wearing reflecting sunglasses. Above him the spring green of the trees Khalld arrives at Museumplein, the couriers' meeting place.
A'gladiator fight' between couriers and skaters (class struggle?) Backgammon in the chess caf~ - outside, the barefoot tramp (evening)
The barefoot tramp woken up in a park just up the street (Korte Leidsedwa rsstraat) His barefoot journey BorzAII on the phone In
the car Talk with BortAii who lives between screens, zappers and mobile phones Journey to Chechnya. into the war zone, through Grozny
and as far as his village in the mountains Queen's Day on the water (Amsterdam) Spicy chips in a Jordaan snack bar (Ajax football club
on TV- video game) Spicy pitta bread in a snack bar on Damstraat (Ajax on TV ) Surinamese sandwich bar in AmsterdamOost (Ajax on
TV) Coffee shop. dope-dealing. Khalid there to buy 'skunk'. Dutch grus (Ajax on rv) DJ too'J.lsis carrying her suitcase across Rem
brandtplein The entrance to the house-disco 'Chemistry'- weapons check by metal detector 100'llo Isis arrives at 'Chemistry'. crosses
the undercroft. opens her suitcase (of vinyl discs) and starts mixing il House scene Rock group 'Silc:ter' from Sarajevo (leidseplein, tram
stop) Playing football in a bumedout street in Sarajevo (war) Airplanes, chimneys Smoke, waste and waste incinerator (Western
Docklands) ABoeing landing at xhiphol In the corridors where the asylum-seekers wait (Schiphol) Photographs and fi ngerprints
Shots driving of 'Byzantium' and copse near Leidseplein Shots driving past night club display wi ndows- Thorbeckeplein On the
stair in the tower. Man climbing Man arrives at the top, hits that carillon. The bell-ringer We get carried aloft by the chiming of the
bells carillon music drifting across the city Shots from the water along rafts, a girl and a boy in bathing suits, reading In a garden
on the river AmsteL photo sessions 4Sisters, partly naked. Enter the courier Shotfrom car of church (Zuiderkerk). sunset Moving shots
oflransvaal neighbourhood. Amsterdam-West. Early. (Hennie narrates) Shots from car of Plantage- Desmet Theatre. Hollandse Schouw
burg (Sto ry of the Jewish mother Hennie) Hennie and her son Adrie leave their house in her turquoise car and arrive In Transvaalstraat
Visitto the flat where they lived during the war until going into hiding (Mrs. Hasselbain ks from Suriname lives there now) Talk between
Hennie and Adrie, saying goodbye to Mrs. Hasselbain ks Shots from c<Jr of Transv<Jalstraat, quiet and early Hennie and Adrie's trip to
Zeeland. Talk about the end of the war. They sing a children's song ('l<ortjakje') Dl l OO"A. Isis walking at night with her case of records
Vondel Park, summer. Youngsters busy doing nothing while Albert Ayler blasts out 'Summertime' on his sax Thai restau rant on Zeedijk
Poster proclaiming Thai boxing gala, Amsterdam Flight to Thailand Boxers sparring in Thailand - an elephant passes the ring The
match. 'Our' boxer wins. He and his family- a 'filmed photograph' . Mother Boxing gala In Amsterdam (Z.uid sports hall) 'Filmed photo
graph' of Thai boxers. Mother Roberto (the Bolivian) and his small son Aini, who kicks a ball for the first time Khalid riding in a new
office district. His thoughts about being a Muslim Khalid takes a photograph to the editors' office and discusses electlonic image tech
nology with newspaper editor On the water at night- early morning- an outoftheway spot in the IJ inlet- offscreen narrative by Johan
(the filmmaker): a man swi mming, Neptunus in Late summer Bridges in autumn, canalslde, brown leaves. Music from Debussy's 'La Mer'
begins Over to the Concertgebouw Orchestra. Riccardo ChaiUy rehearsing 'La Mer' l.a Me( continues. Winter. Snow. cold. AChristmas
tree on the water. Builders' skips Driving movement continuing to canal fronts, window with a woman behind it The woman shuts the
curtain, inside the house A multisexual love scene unfurls Seagulls. their screams and wi nd (Oude Schans) Khalid rides off out of
the fi lm (Western Docklands) End titles
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SOCIAL IPAt l . COLLICTIVI I"PACI 1n
Mat I COil' d
autorc
nt
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this not be the case, then the sense of togetherness di ssol~es. This is why the dis
tances between them must be so slight as
to prevent discrete islands from forming and
so that contact with the table over your
shoulder is a.s strong as that with those sitting across from you. (339A)
Background music in restaurants serves to
create distance between tables. You want
your own conversation, distinct from that
of others, though they have to be there.
I 61.A.
Of SOCIAL If Cl
lAS
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ing by contrast the various layers are interlinked by voids, thereby adding a dimension
to the space or the c:entre. You might say
that the familiar evoative images from
Fritz Lang's film 'Metropolis', where we feel
surrounded by the dynamic of a major city.
served as an association for this scaled
down model of a multi-level urban space.
The various interacting levels of this cen
tral tone are not identical or repetitive.
Our idea was that every level should follow
its own course. so that you skirt the level
below on your way across to the other side
of the void. No two bridges across the void
are vertically aligned. but slip past each
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Just as Important Is the fact that theie
areas are linked visually and so fully connected as to present tagether a layered
spatiality, where you are sunounded by
others but for a void, so to speak.
Balconies are always placed at such a dis
unce that the occupants of eath have a
view of the others.
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the main iiUditorium divide into two halfway up and slide over each other so that
the traffic flows cr0$5. Whether ascending
or descending you often have unexpected
views of the opposite flow, unlike on single
broad staircases. Protruding sculpturally
through the facade in places, they simulta
neously provide a succession of views out.
From outside you can see something of the
accessibility mechanism of the many ter
race-like balcony units - In and out of
alignment. horizontally and vertically - in
the main auditorium.
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p i t m t buUdln ith
facade o s ts and demo strati ly
col mns ke
rca e tmpressio
a inst
sharply chis ll d Rom p t rs
of h M ison
St nding
ch
cul tes
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purpos
can, p n
rran n l
nd only a
t h d 0 ty
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compr
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ai street, s"de t e Ulld ng been acces
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stilirs and t~races combines w1th the square
recesses of the Internal courts In a SY1tem
of planllke spaces strung together, eacn
with 1 city of roofs. At present In Bombay,
one of the fastestgrowing cities In the
world with skyhigh renu, ofAce spaces are
let to more than one party, each for a lim
ittd part of the day. Its users. who share
the same address, telephone and writing
desk. alternate during the day and at night
It reverts to a place of habit<Jtion.
'Bombay. colonal City centre: rirst floor.
third door left. Along an openair gallery
I enter 1 mdsized architecture office:
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Institute. Then came evidence of the buildrng's greu powtt. or lither its capacity. ro
take these changes of occupancy in its
stride. Although now .... hoUy used as an
office buildrng and with little of the former
ambience left. a complete diuster it is not.
However unfomrnately rts intenor has been
treated, as a structure it is still very much
In controL Indeed. anything that has been
added can simply be removed ilgain. That
urd. most of lhe sensibely crafted origrnal
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net as opposed to gross ~nd ue soon Inclined to reg~rd everything beyond the effective net surface area as a necessary
I!Vft that should be held In check. The architect who m;mages
to keep the difference between net and gross surface uea u
small as possible is soon their blue-eyed boy.
This businesstfke attitude is only abandoned (at least In Hol
land) when It's time to show off, to astonish, and even then
clients tend to resort to cosmetics rather than to space.
Everything gets calculated In square metres; cubic metres are
allen to the minds of legislators and financial backers. The
net of rules and standards Is drawing ever tighter In its definItion of what Is strictly necessary; that is, accommodating it
In fixed meanings. SpiCe is categorically excluded from the
signified In that definition, and it Is just this space of the
Indeterminate, the unupected, the Informal the unofficial.
that architects should be taking care of.
Space, then, Is that which manages to escape the confines of
the established, the specified, the regulated, the official and
so Is there for the taking ~nd open to Interpretation.
Most of ~ll. spue is between, the thing that buil.ding leaves
free, and that requires a radical shift In focus. Architects will
have to kick their object habit if they are t.o see things In their
t rue proportions. We have to become tess object-happy and
shift our view from things, obj ects and buildings to what ties
In- between.
This shift of attention, as obvious, fundamental and radical
as It l.s , means that we are able to assign a value to the area
between the objects that define our world, the in-between,
as great a value as that assigned to the objects that abut it.
and put It on equal footing with them. In U$Sons for SWdtnts
In Archltture we looked at ' DIS Gestalt gewordene Zwischen'
(Iuber): the concretization of the in-htween, the inbetween as object,, such as the threshold between house and
street which, depending on how you interpret it, belongs
more to the house or more to the street and hence Is a part of
Pierre Bonnard fm f
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on e Alban, exico ( u
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Ath ni n buil h ir
BC nd 700 AD I
our
n ion t
helmfng
p n ~ th t l
no sim ~l r
in d,
lf see to h e been derberatel eteated.
On
n e
a
mp
er
o uins a g1 an ti t py
pl .
li lo g c i ns o man- ad moun ains.
From he Acropolis"" can g in r ason-
.d
of how
of n of nou nd
i ht of b b rou~ es
e uaUing the a ocities erpetrated in the
pi
Gr
arb e co tours,
C()lo rs. 0 he
od fo
l houg
reron~tru
as so l
~s
hoont
b tt ee scraped
ro s
are
ctures
as t h Acropolis.
i h ir r t s ri y,
if th y r sh p d by n tur , th
ot s
turns
OS
lse; to
hie -o
o n
tion, its l s ifts in o
n,
SlG
h
ssum s
the surn
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tially suggest linu with the Roman amphitheatJes, but these were entirely freestanding structures whose e~terior faced
the city. What is distinctive about Epidauros is the almost complete absence of an
'outside', altogether absorbed as it is in the
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5>1
This do m1
of til v ,
undr d or so
d so e-roo
r besid s, commun l
T
d
ents. T e
f cili es includi g es rant and a
libra . T
u1lding divides 1 ta a number
p
d h th mot
s. on
i l b oc s po
r rb n
or'ttosf i
othe
on y i ic
li ng uarters 1nto s1 se a rate b odes
link d b bridg , hos
g rom on
bloc to oth
bo h i s. h
orridors str
L
six iscre e masses are anyt i 119 bu
11 rtica y or niz
tached 'house~'
alt o g th
ay loo tha way a first ..
Art i ua
o gh
r , h y h r to
n organiz io al unit divd d into s Ofl s
5 tched together by one r tt and thre s ir
o ers.
id n t l po ion fu h net de
bathrooms in radi onalJapanese s e,
is
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Public library and Centre for Music and Dance. Breda (1991-96) (so-stl
The complex housing the Public Library and
the Centre for Music and Dance is wholly
absorbed in the existing development of
one of the large city blocks which in a town
like Breda emerged with the urbanization
of what must once have been farmsteads
and counl!y houses with large back gardens.
The building makes its presence felt in three
of the four streets bounding the block.
There is nothing objetttike about it in the
way it drinks in its surroundings, indeed
it can scarcely be called a building.
Each of its facades responds in its own way
to the character of the street it faces. It
can be accessed from all three streets. This
area became the site simply because it had
been left over by a combination of property
boundaries, spacing regulations and gaps.
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room through to the courtyard garden
resplendent with mulberries.
The informality of the whole comes from
systematically acknowledging and ceding
to those elements and conditions that have
determined and shaped the site through
the ages. The main library space, unques
tionably the dominant feature of the com
plex,locks into the surroundings on all
sides, consisting as these do of mainly old
building parts, thereby accepting a sub
sidiary position.
Ma'ter
,.,
0
C ss Th
pl
barn
n
mq ~
co
the unici al offices
as
y
cause
e up a posi on
e area.
ewers
sp
ce~
c l cons1de tio s ge an
tr , "th t he l - mbradng s
o g ntl~ undu i g roof.
This respons ma)l b co p red 'th
fro
wa
o
p
he p
sur
rc
c f''
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th
th
0 \JlOUS SO l
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then peek in under the large roof as a freestanding ediR~ from a bygone era. Joining
it along this 'street' is the Rim theatre,
stitched to tile segment-shaped balcony
in tile foyer by catwalks.
The foyer zone, then, Is more than anything
else the space left between the various
masses whose siting was necessarily pre
scribed beforehand, hence iu amorphous
charilcter. The periphery of this streetlike
space suggesu individual buildings. with
the brick head elevation of the old barracks
building with iU vertical traditional windows welcomed as a free-standing element
In this interior urban elevation. strength
ening the collage look more usually encoun
tered on the street than in a building. The
street effect is further enhanced by the
e~tceptionally high ceiling undulating atop
the space In one great ftourish and giving
Ul l l'fW"!l. SPA.CI Z4t
nc
in l n th. Isn'
s c sh p db i
columns~
ou
uc
into h b c
ground.
fi
o tn oc so o r a
sp c
arg1n
n ion.
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18 1TW'n .. JUCI l-4.1
Office building for Land tag Brandenburg. Potsdam, Germany (1995) l..,m J
In this competition design the principle
developed in freising for an entire neighbourhood was adopted again for what was
to be a monumental government building.
Here too there was a magni ficen t site, parallel to the river and bordered on the other
side by a hill with a parklike character. Was
this to be the locus for the umpteenth
imposing block, talcing up far more public
...
space than is necessary so that the footpath logically followi ng the river would be
btoclred by it? Buildings often take more
space than they give bac'k!
Our point of departure was to express the
three principal office wings parallel with
the waterfront as genUy billowing arch
bridges over the connecting hall set at right
angles to them. This hall, the central space
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241 SPAU' AW D IU AaCBlf!CT
Jn places where
there are no overty present objects, such as In a landscape,
things and the space between them an prevail on equal footIng, together with 41n egalltilrfan, non-hlerJrchlc division of
1ttentfon 1cross the entire 'field' 1nd, consequently, of munlngs thilt tend to Impose when attached to objects.
Landscape, In the sense used here, Is 1 more or less artfcculated expanse with more or less protection (enclosure) 1nd
potential for attlch1nent, and therefore more or Ius suited
to be the bearer of meaning. significance, and Is therefore
slgntfiablt.
The less object-like and the more Intermediate, the leu
expressive - not so much In the sense of Ius rich In contrast,
but less determined, less defined and more open to fnterpre
tation.
The smoother iln expilnse of lindscape, and so the less capable of enclosure, the broadtr the v1ew but the less plentiful
the 'cover' (In Inverse proportion). By contrast. the greater
(j)
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IIIIITWIIll' 1"1ACI U t
,,..,. In the rice paddles of the Far hst we can find inc:redibly
refined and sensitive systems, developed from the experience
of countle$$ generations, that so determine the dimensions
of terraces t:hat the required water capadty can be guaranteed with an absolute minimum of dyklng in and, therefore,
malnt.enance.
Terradng Is a means of defining territory and also provides
cl;uity of organization and views. last but not least it presents
a close-knit sodal syst.em through the interdependence of its
users who share t he upkeep of walls and dykes and look after
the water resources.
Each landscape will evolve studlly over time Into places;
defined, described, won and defended, territorially determinIng .tnd continually being redistributed and more intensively
used due to new resources and standards.
As the capacity for place fncreues, so does the capacity for
sojourn and as Indeterminacy decruses, the space- not just
physical space but also In the sense of leeway- decreases
also.
The same holds for the city at least when sufficient ' homogeneity of heterogeneity' prevails- in this s.e nse landscape
par excellence. On that point, the following tut dating from
19&4 relating to Randstad Holland as an urban landscape is
as relevant as ever.
' In Holland, more than anywhere else In the world , the Intensive use of the available surface mustalways be borne in mind,
for nowhere are so many people to be found together In so
little space.
'In addition. the need for enclosure must be gruter hue than
anywhere, since nowhere Is the horilon broken by hills or
woods, nor does the flat, soft ground co-operate In any way.
Thus, the uguments are evident for close and intensive buildIng In this most open land In the world.
'It Is, therefore, the most Incredible piradox that people In
rh. fwlllglrrofO.I>IJm.
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Steps of Machu Pichu and outside stair of Apollo Schools (1980 83)
It can not have come about by sheer
chance. This regul.lr succession of steps
must, Like all others like !t. have been made
by the hand of man. We will probably never
know why they had to be at that exact spot.
half acron an immovable rocky outcrop.
and half next to it across material that is
a good deal easier to work with.
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Apollo Schools, Amsterdam
(1980-83) 20 (m m l
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IP4CI 4 MD Ut .UC.I IU Ct
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:r .u carn.n
,...... ,1
...
...
...
1911~96
dt
Ill "TI>t ptojtctls piecoof urb1n *"- mirri1111UJI inst.JUotion, ll>t "Ins il -of emotion, wbore objociJ and tl>t m terialJ ofw!t;.f.thoy ore
count for nothiog without tlltlithll
wt.id! mn.ctnd tl>tm. AI> initlorory wolk ocrou U.. footbridg11 Jluog o1110og tho lnnchn of t1>t ''"" >Omowhoro bot- ~ nd oar\11. Last of oU. t1>t 10ft prottction of undflrrowt/1,
with its oro1110S Dd M11i119 sounds.
..W. oo...tf nd wfth onotl>tr world.' froratl>t competition tt:<t for tl>t- Bil>Uothi~ No_tlonaiA! dt froOO! (Oolrriqllt! Pomult. .....
"'""ioo'
'"
l tl iPAtJ A018.1 AU:BIJICT
Ma'ter
'"
.,.
I_. ..IITWUJI' SPAO Zl9
Garnier, 187<
Scharoun, 1963
Gamie(~ 'old'
,,.
ful sense of dynamic ensues as the Flows
of concertgoers seem to be perpetually
clashing and separating.
619
Ronies, 1959
There is clearly more involved here than just
the concrete sair, a construction In Its own
right joining the lower-tying neighbourhood
to th<Jt higher up. At the very pt.te where
the difference In li!Vti is briefly expressed
as an impassable mountain slope there is ll
window, obviously a vent for the M~tro
directly behind it where noise and hut
malte their exit. Here the children ding to
the belly of the d ty. Perhaps there Is even
a uain to be seen f\uhing by.
like mesmerized Insects stuck to the grat
Ing. they are all but out of ruch, In every
sense. Here at this place, where the layers
of the metropolis come to light In a pocket
edition. there Is real freedom of movement.
It makes a vigorous contrast with the deso
t.te perspective of the none-too-exciting
sueet above. Not designed for this purpose
and without explicitly offering the oppor
tunlty for It, this marginal spot Is a place
where children can get together undis
turbed.
6>0
Mat
COI'T'
autor" s
bo'fd
Few are the goals made exclusively by the players who slam the
ball into the net. He is the one
who gets carried shoulder-high,
harvests the laurels and goes
down in football history, but usually it was a pass, often a perfect
one, from an impoulble position
that paved the way for the triumphant deed. So there is the
necessary preparation prior to a
decisive step, often just as brilLiant, even more perhaps, but
less spectacular and most of all
soon forgotten.
During a late discussion of
students' work the deaners had
already started on the room where
a small group of us had gathered.
In the middle of my discourse on
one of the projects I noticed that
one of them had stopped what she
was doing and stood there Listening. Despite what for her must
have been a pretty cryptic narrative she listened on. From that
moment I felt the challenge of
~eeing how long ! could keep her
interested in my professional discourse on architecture. I tried to
choose each word- obviously
without it becoming apparent to
those present- so that it would
keep to the level of normal language and be about thing~ that in
principle could be understood by
everyone, and not In the formal
jargon we resort to without realizing it.
It is certainly difficult to couch
everything in such a way that
everyone grasps it without reverting to a simplistic populism. With
architecture you necessarily have
to know a little beforehand, but
it does seem sensible to aspire to
some level of intelligibility. It is
a question of navigating between
the rocks of populistic simplification on one side and the intellectual smokescreen on the other
beh ind which the indecisive
among us so like to secrete themselves.
...
'Chopin got his ideas unexpect
edly. without looking for them.
His inspiration came at the piano
-suddenly. completely, sublimely
-or resonated in his mind whilst
walking and he needed to quickly
unburden them on his instf\Jment
so that he himself could hear
them. But then began the most
woeful toil that I have ever expe
rien ced. Exertion, indecision and
impatience to take fresh hold of
certain details of the theme he
had heard foUowed one upon the
other: the idea he had conceived
of as a single entity he now overly
dissected when seeking to writ.e
it down and, regretful because he
felt he could not retrieve it as it
was, he would sink into a kind of
despair. He would shut himself up
in his room for days. weeping.
pacing to and fro. breaking his
pens. repeating and altering a bar
a hundred times, fi lling it in and
then immediately erasing it, and
persistently began again the next
day. precisely and despairingly.
Six weeks he would d~ote to one
page, to finally return to what he
had dashed off with a single
stroke of the pen.' Georg San<!
'What we photographers
don't capture immediately, is lost
for ever,' Htflri {Jtt1tf-Brenon
au tor
,,.
The porter's lodge in the reception area of Alvar Aalto's sanatorium In Paimlo once drew
attention through its sleek
detailing, its pliant form resem
bling before anything else an
inordinately magnified version of
one of Aalto's magnificent vases.
Such sinuous lines. which the
rest of the designing world tends
to splash about at any and every
opportunity, always have a most
definite purpose with Aalto. Thus.
his vases are eminently suited to
variation in use in that each curve
or billow invites filling in individ
ually. so that what you really
have is a number of vases in one.
Just as the vases holds flowers,
so too the porter's lodge receives
its visitors where the shape curves
inwards. This elementary condition could not have been designed
more precisely. certainly not in
the way it coincides with the
drum roofiight set at the very
place you would expect it. One
would be hard put to conceive
of anything of greater beauty
and logic.
.,.
...
UIJGlll
Ma'ter
roa lU~MJI
:r:ll
n1
TAIC I NO MllXAM
SeptrmMr 1997
Profeuor Henniln HertzMrger 81
Module A4 , History iind Design
....
Make the watrr accessible from the upper plateilu and devise
one or more added social spares. Suggestions: restaurant, caff,
sauna, chapel dentist's surgery, gallery for uhlbitfng irchaeologl
cal or geological finds, and so forth. It is possible to build onto or
suspend from the wall a lightweight structure, but keep in mind
that It must consist of easily transportable materiiils and that
trilnsporting it there would M more expensive thin quilrrying the
stone on site.
TASK
--
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JUDGI NG CltiTUI A
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'When a job is handed to me I
tuck it away in my memory. not
allowing myself to make any
skt!tches for months on t!nd. That's
the way the human head is made:
it has a certain independence. It
is a box into which you can toss
the elements of a problem any
way. and then leave it to "1\oat",
to "simmer", to rerment".Then
one fine day there comes a spon
taneous movement from within, a
catch is sprung: you take a pencil,
a charcoal, some coloured crayons
... and you give birth on the sheet
of paper. The idea comes out... it
is born.' Lt (or bust..
CttAtTU I
HtrNllllttttboti!Jott. Lou0111P, ~
in Ardtftf'C'Oirt. 010 hbtidwn, Rottttcbna
I
'""'two
'"<
e"GQ:, .
-l'il1flnl.'
t Mourlet lltrltoul'oD(J, L'lltl I( r~:zpl'ft,
WtloctGlllllNid - p.
Goslnt Jlollben,#WdD"" itMJy. trorol.
AI:Jn - 1 . hn11uin Booh. Hii'DIIINb
W<IM, ttso. J>. OriginJI t.at: 'A1.&
Yillo. "'" lo b<uit "- noes. lo llowdon
...,..nt m !Mttm et 1.. <Wt~ du bel,
tlltt 'illtot 48 Hbtf:~ts cia It az,r aa
d.t'lott. au 1M""' (tJ>Ono<~itl!fllt.IWs
tilt. ,. rit tfalt koldo tOO!N 11~
doni l.&ttJCAIM cst au non!. et t'f'llnlli
ull9ciot olleodewo, litlit u tool.& .WU
I'CM~~cbre l tow Lt1 coiltt 4e $Oft c~u.r:
1 ailt.. p. 109. Oritlnalt..t: 'Ello orriVJ
sue I> p~ du P'itJ\'b. On IO<I<llt des
fptcs: lalwlo (llcoulait puiHUoi pot
fttwt post.<ttw l!Chu
"'"" pon\. ct."" ...lil\0. plus iOtl100bilo
qu'an roc." tmlit It lttilft. A!on .ut w.
Ilp~ ~ jout bi. tout anDeUR tt ptein
d'esptranees. tllo <Wt t~~t:t<o .0111 c..t,~o
gtude""' qYl (ttfond..Jlt deVJJtl olio
WI!.""""''..,
p.ua.
lfllttf'I.J 1111
hrlll. . .
so l.ugt /I ......
p.l...
""'whit.,.... tllinting
"""da
1,.,,.,.,
t-.
close,.,...,,...,
ill
yow hand I "'" hiYt notitN tJw flo,..,.
!ytt , - ol hb !lflll.lchlldtt'tl,
...,.,,of./
1 Kl.
n.,.. ,....
..,.,,_t
cx ~nn 1
> ,_,.,~-.iiiAimiu.d>rJ.
pp,1..,._l...
4o
Ibid._, pp,
buildlnt.
tO UmlrU, p. I$.
I 1 WJtt-n 611<0<1 w!ottbtr ht <Wid h d<Do with bit ..... !JTHn L< Cotllosier
rttortri ~y: ' A ltw Slllb, if U..t'.
u 11 cton.mrnto~ ""-m:itr.t, Oolft
J.rchhoct re Foeolty, S.pwabtr tnt.
1J Ot wordi'tf vel" H11 wofldrtt lllrfP~,
vno, Hllqrtu.~a 1_
.,,,
..,
Mat
COI'T'
cnn
1
l o1-,..,
~c,r,,.
De If A!ifimrorio.
ln1W'v1!!!, 10K.
Htr"""
ipsit tttce~
unU Hgtlgt.mas:.
UJ Ardut'ttiift-.
C"()CQpG!SeJ'S A.Jt
to f
ptfJ~.
10
t U..Ons.pp.M.,.
;. IOitJ.. pp... lllUS,
4 Jbfd p. U'5o.
' In berth t~ Stulltnu' Hoose {U.S"' I>
ss) ....S l1o Dr>t n...n bolllt for tho
~de:rty (i~d.. pp. 1 ~,, U) ttw ftoor pl.aa.s
rouW be druti<ally lltond d adapt! to
lllHt today' bo<Wng ....... nus ....
!MnkJ t<> tho <Onueto hlorton. Nony
bui1d\DQI of tb>t ti!H (boarun.g the ootid
tc.n atH putibon wll tJw.n <IM....S 10
flfi~nt) . .,..
to witlutud ...0.
,.htt
til.,..,.
" t.oorwdo -
U1'wtt
p. J(U,
Aas.ttrd.lm '""
t ~id .,
C'O~t.
T~llf'~ ttsf.lM-4..
CMAJ>TU J
..
~t. p.uo
t 'Dos Untnrorlttt
ll>Jd,, PP ~n.
sckN,..,.,.
p.
eautu s
"
t U!JOIU. pp.tUl4S~
010 Pubtisben.
SH note'
tmo.... p. 16>.
" llli<!.. pp. 101 101.
u 11>/d.. pp. 101110.
\ttl.
Projt>it/l'roit&. , _ ,... ~-
Nl>l
Rotterdl.a
II
unupc<'tld'.loll<""" Btrtzl><f~.
1&/d.. p. IJ.
ll>Jd .. pp.........
iott11d.rm ''"
u S..the trxt (ltn) llttOWIJW>ylng the
t!Wgn 'll.utinosltMl G<onitlfi<'JI-
'By beiog in<luded iD lllo .m..n """olllo
unt..uity is roqulre<! to oi)OII it..U up
t Uuor.s. p. I'M.
U,....rsh<itlllbiioth"k!'
Su.ine tna.
Hotbberger. 1ntoodw:tory SU.t<L
ntnl'. in J?l;r lc~t CGJJ_ie q J, Stwdfo
OUI Pubti.dvt$. .RMlt-tdi!lllliU.
Uberdi<ht/A<~:oi:Uf!Oda.tlJI(j
tho
fon.tm
a! Mit.
Mat
COI'T'
( V&IICUUI V U .U
All>sterd~m
mtnt~ o~nd
Att4tt1h.oul
Aa:utudim
Chait011 0
oftht Btt!Jgt
llulitutt. Alul~tdUl
\--ta Dt Po\Y90<>0.IHI...rOOffl
pri.""'cy school. AlJilett
Aruttnfarn
1...... t fh.HtrfCt-1lt ttCMI.Spui..
1'llt !!"'!"' compin consistinq oiJ>Ort
Ill\\-(l
p.,~dl]o.ol bou.lng pro.rect. C.poll< .. n
d.mO..tl
Uthan dfolgn for Tot Ari Pol\i,.ul> (It)
Extltfls:iortlo DtO..rioop nouing lit>...,,
Alrrttre--Havtn
Til..,,._fftllingtr ( .. )
Resid<t!tlil building, cowtyo11d Hit Ytnt4
Ppondrttht
boult
Ap.ldoorn
dtpiJto!tt). arodo
RHiittd-b
t ,.t..a. tltt-Nion t(l Li_n_m_ij. AJnrtrrdm
(demotilhed n )
ttSt-66 Stt>donto'll.o""', W~lpe"I!Ul,
AtruUicllm
Al.Jru!rt Hntn
1-
PJptru!1tcht
(l'lo....,..)
Slat: l ...
lnllitlt~. A mst~cll.,
AO\SI~m
U 7 2 74
Dtotntor-Borgtl
(Cllltn!Oil)
nn n
6 WA1UI
1.H7 70
SchooU. AOI.II.,d.lm
- HorMlb.Jchprijs. City of ArutttciiOI
AwMd for Alehltrctv.tto. fot Dt EwlWir
priltwy school, AliiSttrd.ult
(apc;~rU/It:iw chucctl.
lA>idathtMn
Sc.dttlf'"'ll:rd l>'oiort
tKa M.onag<101t h.Clusi.ag
Hidde!burt
, ...... Sth!t tntiltor !!oust on Borne,.
t.iland. A.m$ft:rdalf!
Utrt<hl
Apol.cloom
.......
At>tldoom
Erl!!ti.Si.,l\/ 1tnant\on of Orpiwu.s 1\eJ.trr.
UlJtdtt
Cenut.
AJ!u"'' ""'
u1 t'ttmir~rij for CtniTilllt.ho<t
Fdt:-S<bt>madltiJiti.il for tbt tntirt
meftlltOtt, Asstn
~-ftbuJg Min~
S<nool. Oolft
, ,_..u PavUkla1, bu!stopsa.nd nutktt
farilitlos !Qr ..,..,. <Vttdmborgpltin).
It><
IM 1\ous.et. Ypebutg
hoos.s) In WtnbtCtk
- O!y of J.Mottclltm Awlt~ for
Ardlitrnuo for the Srudntl' Hou,.,
plan, Mlildelbat9
Offict bllildU\Q, C..mlquo <ito. Nautrl<ht
t971~
AIIUtmWI!
--u
t-
AIJUUttliW_ft
JM4....
11
Anl$tftda:a
lfootdf1\4ij~.
-H ttfltn
Dordrtcht
or
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co
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to FRn
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su.tauer Jtalliinr.Et kcun)
Drll!l.CJ (
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l.
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ur J
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urd
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A 1t~rd&m
..., tudy ro,. ti . ran fot
fut, mulk. uch' ~KtU.l r t:).
1 ., Ul
~tudy fo' $ QPiJt
tn
mll$i.(,
1.~
.~ JHS.
lt\l
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buiJdttl< Jtoa n
lll.!l.
d.J/tm<i
co
tW
pp. '
'Vt"K l'~., d~r)} id", /cm.~ t
sa
00....
pp. 10, 1
hr
t~ f
dfS1t
Fol!~bt~..,
4
nlbiU t ~$, 1mL~ml
o/.,l~
r, J.o~ JI)R.J (r )
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[Stddtr~t Hoa~J
erg~n
V 41))
pention.s
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rn [P;ah .
tu.ule.
dtl1 nrf;
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il
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ttn'. fon:m'
1u ,. Dr 01 too"
D utbt
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J
p. ~ -Jn
'lwg \'Dar of ~er g owr ~~tch..i.tt .L..i.
asd
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r Gunther utb
1M
fin.g ( D)
,,,.. U
d
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f .
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T . fl { H ( 11 LaoiO
del l..:l't'Oto': (entt.ul B~ . BlLtoc.d
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11ria 19U,
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Hamb
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uM Mrwbuild fm Wltnn.s. it
(n)
4Jd
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for uN r ity co
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1t ' UJb.ut d
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no. !, . ) l
pita lt fo m.
Ho 1,
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19M
libmy
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. bx-.mt (~11 a
cutturunt m
1Mt Strett f ~f\it t
0"~'
-~~ 11 ~ lrtril.lt'lg'.
of
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'5.
'!I cltllo< paro boy: lloc11 !vrnl.u .,,v ho>piUWiu'. ;..,~ (Af~~t~U..) IOJS.
no. 11, pp. IU (about Dt OM llow1! "'4
Centr.ul Btb~)
-,fUr
'tspoct - . Thnfqua t
Arcl>itftt1irt 1MS/ ... no. l$1. pp. . . ~ . t )
Stoia (fb:st.yur ....wr not..).
Or4ft, IDl
AJnoU ~. HtriltOit Hrrtl~JcJgot.
JNf'<,._ Balltln uttG Projdt.ulBulUJlnrp and
Projr<U/UtilfWIU ttl'rQjfla. Alth
t:<lltlon. Tilt Kag..llt >
's.hU and cryrul". in fmt<U St .......
Aldo anl)et'~ C/1phOM9f. A Hod<r~
TO
Monumfttt~
AJ PubUthtn. R9t1~ct.a.m.
..... p. 1 (otlgln&Uypai>W.htd ullt!
IIUbrt - pp. n
'Do tnditl.t ... bot Nl..wolloawttt tn dt
nitwt ..ooiigbi4'. lnttf11!etli1Jilt- - ..
.,,.,..,...,~i
liOO
'lbo u.ocl!lloa bthlnd tbt "lltrolt Ptrlod"
,.,_.lCII't..MUWJt ~nmism.e tn lk
lfddtt<t ~ur vlll Al<!o .,.. ~.
w..,f11h.a 1111. ao. r. pp. a
'lltuha!Dookeo nolt Cooblaior'.
....
Kontm.ori
c~u~ ....,
-.lte. AIY
Sl9torlum. PnNo. flnl&nd tiU; 210
Arota, Wltl
.llrodoJif f011 tbo .1\ru 1nd AldtittlOJO.
M.b$lridtt
latfl. Llaa . .
lndola I LodJ
Sorts.ats n a1z Lt,hool. f ..ri& ttlS.! u
loaaud. Pierre
WlUtt lnttrior. \Jll! nl
r u Dolft, -
Kt\11~
pp . .,...
1lu S.~riidorbaus in
.Aidlirltt.J, ttu. no. ~ . pp. ,._,
'Kvt St.l'lol~n In ID,..,. I!tt pl<oizub
bou'W'WW!k", Boow nat. no. u ... W 10. u
U.. ~" ildt -lotw!Jo rrllkcuur ~.
010 PabWhul. lotterdurt tHO. pp. tlt
'Vl!<Wwoo.rd'. in J an ~1.11. J. Dttitn.
oto hblishctJ. R<ltttnlo,. 1990. ~P a. 1
'tlle Puhll< IHI.a'. All IHI, pp. ll
'M<1Q hot 'a - j < ,.....,., ~>tu~>Ueft?'. in
p.,
'*
llln<ltr.
In't.tn'"'
bKoop oatt ...;.;.. ~_,;,., '"'
MU.t. Slo
l"
s; Ht
ltUitiUI. c.-u.
SC'wlJturtl: 101
~' d'ON
Vtni; IN
Cui!Arf'treuoo. Bnrt
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